As a movie buff with over two decades of industry experience under my belt, I can’t help but feel a sense of familiarity and concern as I read about the recent challenges faced by the entertainment industry in Los Angeles. The decline in production rates and the struggle to compete with other states and countries for tax incentives is something I’ve witnessed firsthand during my career.
On December 5th, influential figures from various sectors within the entertainment industry convened at NeueHouse Hollywood for the Hollywood Chamber’s 2024 Entertainment Industry Breakfast. This event, sponsored by EbMaster, aimed to explore ways forward titled “Paving a Way Forward,” amidst concerns following recent strikes and disappointing production statistics in Los Angeles.
Paul Audley, leader of the nonprofit organization FilmLA, recently shared data on shifting patterns within the film industry and proposed that California could increase tax credits to stimulate local production. According to a 2023 study on scripted content, although global production output is generally decreasing, it is dropping at an accelerated pace in Los Angeles.
Audley noted with pride our attendance during Governor Newsom’s suggestion to increase the annual tax credit to $750 million. However, he emphasized there is substantial effort required to transform this proposition into a reality. Already, grassroots and professional groups are emerging to engage in crucial discussions on the matter.
Michael Schneider, the television editor for EbMaster, led a discussion featuring prominent film and television executives such as David Eilenberg from Roku, Jamila Hunter of Macro Television Studios, DanTram Nguyen of Searchlight Pictures, Lisa Niedenthal of Blumhouse, and Allison Wallach of Fox Entertainment.
Niedenthal highlighted a challenge: although Los Angeles boasts robust film teams and resources to attract productions, competitive tax benefits in other U.S. states and abroad present obstacles.
In essence, the design of the [California] tax credit system can be advantageous, but it’s not the simplest to maneuver through,” Niedenthal explained. “Unlike some other areas where you merely complete forms, submit a budget and script, and receive your funds, this process involves unique application cycles that make it challenging. Moreover, as more global hubs have emerged, they boast highly skilled teams.
Wallach and her team producing unscripted series for Fox, such as “The Masked Singer,” are exempt from worrying about tax credits since these types of shows are ineligible for them altogether.
Wallach expressed, “It’s something we deeply hope can transform. To clarify, there appears to be a glimmer of hope, a light at the end of the tunnel… People are becoming more open to working together. We’re optimistic that this collaborative spirit will spread because this is where it all began. The creative community is right here, so we’re committed to investing even more in it.
The discussion additionally delved into the thought-provoking topic of artificial intelligence and its potential influence on various industries. Though Nguyen recognizes the broad effects AI may have on manufacturing processes, she believes it won’t have a direct impact on her duties at Searchlight Pictures.
Nyugen mentioned that our films are unique to such an extent that it’s hard for him to imagine how artificial intelligence might influence the kind of movies we produce, as they often reflect a specific filmmaker’s perspective so strongly.
Afterward, the event transitioned to the awards segment of the morning. Peter Roth, ex-chairman of Warner Bros. Television Group, was bestowed with the 2024 Television Visionary Award. Greg Berlanti, creator and producer of shows like “All American” and “Brilliant Minds,” accepted the award on his behalf, highlighting the 32 primetime scripted shows that Roth had overseen leading to the 100-episode milestone.
Berlanti stated, ‘I particularly enjoy presenting TV show ideas to Peter. If he finds your pitch appealing, I can only hope he does so, because in that instant when Peter listens to a captivating story, there’s an unspoken bond formed. In such moments, no one would be more enthusiastic about you or the show than Peter. He always gave his all and demanded the same from others.’
In 2024, Michael Schur, the creator and director of Netflix’s “A Man on the Inside,” received the California Commitment Award for his contributions.
Remarkably, the popular sitcoms “The Office”, “Parks and Recreation”, and “The Good Place” were set in Scranton, Penn., Indiana, and heaven respectively. Despite being filmed in Los Angeles, creator Mike Schur skillfully found settings that convincingly portrayed different locations and realms for each show.
Ted Danson stated, as he presented the award, that he was representing a strong dedication to California.
After spending his childhood in New England and harboring no intention of relocating, Schur found himself pondering over his professional journey since his move to the West Coast, which occurred twenty years prior, during a climactic Q&A session with Schneider and Danson that concluded the event.
Mike Schur shared that the shows he and his team have collaborated on collectively have been filmed for more than 2300 days. This is roughly equivalent to six and a half years of non-stop filming in Los Angeles, California. He expressed pride in this accomplishment and gratitude towards California and Los Angeles specifically for offering outstanding locations, union labor, and talent that enabled our shows to thrive.
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2024-12-06 21:47